English Suite No. 3 in G minor BWV 808 - Prélude by J.S. Bach

Form

This prelude is in ritornello form. The ritornello (returning theme) alternates with contrasting passages called "episodes".

Bars 1-7

Ritornello, G minor. It begins with a series of imitative entries in fugato style (subject in soprano in b.1, answer in alto in b.2, subject in tenor in b.3, etc.). There is a continuous semiquaver pulse from b.3. The harmony alternates between tonic and dominant chords, and the opening passage ends with a i-V cadence in b.6-7.

Bars 8-21

There are sequences in b.8-21 based on an extended circle of 5ths progression (usually indicated by the first bass note of the bar: G-C-F-Bb-Eb-A-D-G-C-F-Bb-Eb-A-D), bringing passing hints of Bb major in b.10-11 and b.17-18.

Bars 22-32

Another sequence (b.23-28) passes briefly through C major (b.24-25) and D major (b.26-27), but the key of G minor prevails, confirmed by a V-i cadence in b.32-33. The cadence is preceded by hemiola rhythm in b.31-32 (i.e. these bars are grouped as if a single bar of 3/4 time).

Bars 51 -67

Episode 1, mostly in 2- or 3-part counterpoint, with some references to the falling 3rd quaver motive from the ritornello (e.g. b.35-36).
It passes through D minor (b.34-38), G minor (b.38-44), D minor (b.44-47) and C minor

Bars 51-66

There are further brief shifts to F major (b.54-57) and Eb major (b.57-60), but Bb major remains the ultimate goal of this passage. The new key is confirmed by a V-I cadence in b.66-67, preceded by hemiola rhythm in b.65-66.

Bars 33- 50

Episode 1, mostly in 2- or 3-part counterpoint, with some references to the falling 3rd quaver motive from the ritornello (e.g. b.35-36). It passes through D minor (b.34-38), G minor (b.38-44), D minor (b.44-47) and C minor (b.47-50) to Bb major (the relative major key).

Bars 67-99

Ritornello, Bb major. This passage is virtually a transposition of b.1-33, with brief hints of Eb major (b.90-91) and F major (b.92-93). It ends with a V-I cadence in b.98-99, preceded by hemiola rhythm in b.97-98.

Bars 99-109

Episode 2, beginning as a transposition of Episode 1 up a 3rd. It modulates in a reverse circle of 5ths through Bb major (b.99-100), F major (b.100-102), C minor (b.102-104) and G minor (b.104-106) to D minor (the dominant key).

Bars 107-125

Ritornello (abridged), D minor, ending with a V-i cadence in b.124-125, preceded by hemiola rhythm in b.123-124.

Bars 125-179

Episode 3, beginning in a similar way to Episode 1, transposed down a 4th, then up a 4th (or down a 5th) from b.137. It passes through A minor (b.126-130), D minor (b.130-135), C minor (b.135-138), G minor (b.138-141) and F minor (b.141-144) to Eb major. There are further brief shifts to Bb major (b.148-151) and Ab major (b.151-154), but the key of Eb major is confirmed by a V-I cadence in b. 160-161, preceded by hemiola rhythm in b.159-160.

The remainder of the passage returns sequentially via F minor (b.162-165) and Eb major (b.166-169) to G minor. There is a dominant pedal in b.176-179, building a sense of expectation for the return of the ritornello

Bars 180-213

Ritornello, G minor, very similar to b.1-33 (apart from the opening bars, where the imitative entries of the subject now rise in pitch).